Ava may be in limbo again, but the Hacks season finale is divine
Jean Smart and Hannah Einbinder make an irresistible duo in HBO Max dramedy
TV Reviews Hacks
For much of Hacks season one, we’ve watched Ava Daniels (Hannah Einbinder) fight her way out of limbo (and, depending on how you feel about the Las Vegas heat, hell). A joke about the hypocrisy of a closeted senator sending his gay son to conversion therapy made Ava persona non grata in Los Angeles, though her reputation as a comedy writer was hardly sterling before that Twitter debacle. When her agent Jimmy (Paul W. Downs) gets her a gig writing for one of his other clients, stand-up legend Deborah Vance (Jean Smart, who just owns the small screen these days), she reluctantly accepts the offer. Then she promptly botches her first meeting with Deborah, though that’s not entirely her fault. Deborah is every bit as prickly as Ava—she resents the idea that she has to revitalize her act, an act that’s gotten her through more than 2,400 shows at the Palmetto casino.
Even once they agree to work with each other, Deborah and Ava struggle to find common ground. Deborah’s a Boomer who’s fought and scraped for every measure of success she has, while Ava is already a (town)homeowner in Los Angeles at the age of 25. They’re both quick to dismiss each other over generational differences, but from the beginning, there’s a glimmer of shared recognition of each other’s talent. They see, almost grudgingly, how they can help one another—which is also how they help themselves.
Series creators and writers Jen Statsky, Lucia Aniello, and Paul W. Downs derive suspense from one of TV’s more unconventional will-they/won’t-they pairings. The weekly release schedule has also lent itself well to Deborah and Ava’s unpredictable partnership, with viewers wondering from week to week—even episode to episode—if they’ll start taking digs at each other again, or if the latest truce will stick. Thanks to some top-tier work from Smart and Einbinder, there’s been as great a thrill in watching Deborah and Ava let down their guards around each other as in any mystery show. But over the last eight episodes, a genuine affection has grown between the two women, a feeling they’ve both had trouble identifying. We’re rooting for them as individuals and as a team. Now that Deborah has finally embraced taking her comedy in a new direction, one that will leave her more vulnerable than she’s ever been, we can really see what she’s capable of on stage.
As her 2,500th show—and the curtain call on her record-breaking Palmetto residency—looms, it also becomes clear what she stands to lose. No matter how close they’ve gotten, Deborah believes she’s the only one out on a limb. In episode eight, “1.69 Million,” Marty revealed (post-coital) that he was buying out her contract, blackmail be damned. She snapped right into action with Ava, working on a new, far more confessional act. She hasn’t quite shaken her misgivings about change, but what Deborah doesn’t acknowledge is something the audience can plainly see: She thrives in that place, that moment of “do I dare disturb the universe?” She’s been shaking things up for much of her career; it’s only in recent years that she’s gotten comfortable, dare I say, complacent.
But, to show Deborah the same empathy the series demonstrates, I’ll acknowledge that is a gamble to wrap a historic run with an entirely new set in the hopes that Steve Wynn or some other Vegas impresario will want to scoop her up. Which is why my heart sank a bit when, in the opening moments of penultimate episode “Interview,” Ava got an alert for her flight to Los Angeles. She’s young, talented, and ambitious, and should absolutely be thinking about her career. And yet, Deborah would probably burn her to the ground if she bailed right now.
Here’s one of the many, many times we can credit the work of the Hacks writers, including Samantha Riley, Ariel Karlin, and Jen Statsky, who penned the final two episodes. Their warts-and-all approach to these dynamic and difficult women has exposed as many strengths as flaws. The conflict I’m feeling over wanting good things for both Ava and Deborah, even knowing they might not be the same good things for both, is all by design. I am so invested in this relationship that waiting to learn whether Deborah finds out about Ava’s interview with the creators of The Bitter End had me on the edge of my seat. You know you’ve created a great character study when there’s so much anticipation about personal decisions that wouldn’t seem to carry the weight of the world in any other context.
The final two episodes, “Interview” and “I Think She Will,” follow the trajectory of the rest of the season: up and down, then further down, then a little bit up, and… you get the point. Deborah feels confident, and even urges Marcus (Carl Clemons-Hopkins) to enjoy some free time. Marcus has hitched his wagon to Deborah’s star, though, so he can’t really relax while she’s working, especially since she’s doing the opposite of what he’d like. He’s given up so much, dedicated himself so thoroughly to Deborah, that you can’t blame Marcus for wanting more. The problem is that they all have vastly different ideas of what “more” is. Again, you don’t have to like everyone on Hacks (you probably won’t), but you are invested in what happens to these characters.
Much of the tension of this final combined hour of the season comes from recognizing that some things aren’t meant to last—not marriages, creative partnerships, relationships with hot girlfriends (Lorenza Izzo as Ruby), and certainly not careers in comedy. (Though, thankfully, we know the show will continue for at least one more season. Ava and Deborah’s relationship has always been somewhat tenuous (okay, in the beginning, it was very tenuous.) Ava’s never seen Vegas or stand-up comedy as anything but a detour. So naturally, she jumps at the chance to meet with the very British creators (played by Kirby Howell-Baptiste and Chris Geere) of some brilliant show.
This opportunity isn’t what it appears to be, as Ava quickly learns. The very British duo seem charmed by Ava, but they’re more interested in her time with Deborah than her own talents. Their new show is about a tyrannical female prime minister, whom they want to model after Deborah Vance. They don’t view the premise as misogynistic, either: “We believe that true feminism is being able to say that some women are cunt-y monsters.” A disillusioned Ava responds, “It’s a show about a shitty woman?,” because recognizing that women can be shitty isn’t nearly as revolutionary as Very British Duo seem to think. This exchange is filled with exquisite discomfort and disgust, but Ava’s question is one people have probably wondered about Hacks (and even recent movies like Cruella). The show quickly answered that question, showing itself to be part generation-clash comedy, part meditation on the nature of fame and artistry. Hacks has delved deep into the creative process, ruefully observing that the industry allows for hacks to make it while shutting out new voices. Like Deborah and Ava, the show refused to simply accept that. It challenged itself to envision a way for these two women to create, to innovate, even in that toxic environment.
For a moment, we think Ava’s blown her chance—with Deborah, that is. She turns down Very British Duo, and promptly falls on her face, possibly earning a little karmic retribution for skipping out in the first place (or not, because again, she wants to be a TV writer). Deborah finds out about the meeting, thanks to Marcus, and she reliably lashes out at her mentee, who’s just learned her father’s had another stroke. Their growing intimacy is a double-edged sword: Deborah knows how much it will hurt Ava to know she’s abandoning their new work. Deborah’s never been afraid to be cruel, but this is another one of the rare occasions in which she’s acting out of fear. She punishes Ava so viciously because she still thinks she’s the only one risking anything, and she’s terrified. Turns out, they’ve both been in limbo, though Deborah’s exile is arguably more self-imposed. There’s no shame in a Vegas residency, but someone like Deborah, who still has so much inspiration in her, is hiding out. (Feel free to tell me I’m wrong in the comments, though!)
The Hacks finale, “I Think She Will,” is an emotional rollercoaster which doesn’t let up even in the final moments. As Deborah and Ava reconcile and prepare to head back out on the road to hone the new act, I can’t help but wonder what Marcus, the new CEO, thinks about the change in gear. He effectively chose Deborah over Wilson (Johnny Sibilly), their work over his relationship. The questions of how he’ll respond and whether Deborah and Ava can continue to make it work are enough to chew on, but Hacks then drops another bombshell. It turns out, in typical Ava fashion, she emailed Very British Duo after Deborah smacked her. Whatever she sent was compromising, judging by Jimmy’s frantic call. I literally went “GULP” as Ava hung up the phone and took her seat next to her boss and mentor. Season two can’t come soon enough.
And now, just a few words on this surprisingly suspenseful season. Fraught and funny, Hacks is the kind of show that understands how rich women’s lives are at any age. Deborah Vance is the role of a lifetime, and yet Jean Smart makes this feel like it’s just the beginning. It can’t be easy to square off against such a consummate pro, but Hannah Einbinder holds her own. Hacks tests Deborah and Ava’s ability to “hack it”—to endure, to roll with the punches—in a culture where few people, let alone women, thrive. But instead of merely being an exploration of survival, the show helps them find a way to rise above.
Stray observations
- I could just list a bunch of jokes here, but this is already kind of long. Thanks for your patience! We’ll have a post-mortem interview with the creators on the site overnight.
36 Comments
This show has been a wonderful and needed port in the pandemic storm. A year and half where the world took a pause no doubt inspired many to take a look at their lives and see if they liked theirs, or were ready to try new things and fix their flaws. And here comes a warm, compassionate, funny character dramedy about two women from different generations who, even if they don’t realize it at the beginning, need to reinvent themselves, become the people they want to be. Their journeys, for them, has been hard. For us, it’s been wonderful.
Kudos to the very smart, sensitive writing. And the acting: I knew Jean Smart was magnificent before this show; the real find has been acting novice Hannah Einbinder, who’s phenomenal.
Ava’s post-Deborah-breakup email to the producers, according to Paul, was “very intense and revealing.” The episode before, as she was leaving the theater to fly to L.A, she wished Deborah goodbye by saying, “Love you.” Given her dream in Ep. 7, I wonder if the producers are actually teasing some more the possibility that Ava actually does have romantic feelings for Deborah. Whether this is a good or bad idea to pursue I’m conflicted about: but no doubt, the characters and actors have such great chemistry with each other, that the “will they/won’t they” tension filled question can apply to more than their professional lives.Another big theme of the show has been being open, with yourself and with others, so you can lead your happy life. I wonder if the first episode of S2 will start right back on the plane back home, with Ava, in a moment of growth, telling Deborah about that email and—if the producers decide to address what I wrote above—her feelings.
Kaitlyn Olson’s face when Ava tells her she doesn’t ACTUALLY want to sleep with her mom, she is just unused to intimate relationships and interpreting her feelings sexually is a masterpiece.That whole episode (Olson’s marriage) is quite good.
Yeah, I get way more “unresolved mother/daughter issues” vibes than sexual tension from their relationship.
Kaitlyn Olson is always hilarious. Although, if this show is supposed to be (at least in part) an argument against women/other marginalized people making themselves the punchline to “make it” in comedy, her brand of acting/humor/whole character seems like kind of a weird choice?
Is it supposed to be? To me, it is insult comedy…even yourself. Sweet Dee fits into that.
I think you mean Steve Wynn. Steve Winwood is a British musician.
And Steve Wynn (of the Dream Syndicate) is an American musician 😉
The Dream Syndicate started a casino?
You bet!
D’oh! It’s been corrected, thanks.
Steve Wynn is a bit Trumpish and a bit cunty. Steve Winwood is a treasure.
Hacks has been my favourite new thing lately. Sad it’s over but glad it’s been picked up for season 2.
I thought E8 was the finale, so I’m so grateful for these additional 2 episodes!!!
beautiful show with a good grasp on generational perspectives and how ultimately you need to be in on the joke to laugh at the pain of this existence.
was annoyed at first but boy was this show worth sticking through the end
The remembrance card for Richard Gilliland gutted me, particularly in light of Jean’s subsequent performance in the episode.
Hi Danette, is there any chance you can review each episode? I love your recaps and this first season of Hacks has been great?
i second this!!
She’ll be fine. The show has a repetitive formula: Ava does something self-destructive, hides it/forgets about it, it bites her, they argue, then make up. Then repeat next episode. That’s fine! Lots of comedies have formulas.Take away Jean Smart and the show in a nothingburger, but with her in it, it’s elevated to must-see television.
Same. Loved Legion, Fargo, Watchman…anything Smart is in. Agree with the Ava getting in and out of hot water is formula too…not sure if that can last without getting boring.
So glad I came across this show on here, my SO and I adored it. Love Jean Smart!
Can we get rid of Jimmy’s assistant next season?
I really liked the talk between Deborah and DJ in the car. It was sweet, on both sides.
Eh. There were some very strong moments – especially as the season went on – but season one is B- television. Lazy writing, more than its share of partially-drawn characters, loads of wasted opportunities. I guess the good news is that the last couple of episodes reveal a show that was finally getting its sea legs, but the final scene ends in nothing more than run-of-the-mill Hollywood TV cliché. It’s almost as if the creative team, after having delivered their best work of the season, second guessed themselves: “uh, we’re not sure you like us enough to tune in for another season, so here’s a cliffhanger.” Lazy. Unnecessary. Tedious.
Ugh.
Am I the only one who thinks that Ava’s character doesn’t make any sense at all?She was apparently funny and talented enough to get tapped at 20 to write comedy for a TV show and has been doing that job for five years, yet she isn’t funny and can’t write a decent joke. She doesn’t even seem to have a real idea of how comedy works.Part of the problem is that Jean Smart gets almost all of the funny lines, but more than that the conception and/or the execution of the character is just wrong.I’ve enjoyed the show, but Ava is kind of its fatal flaw.
Were they ever specific about what kind of show Ava wrote for? If it was something really offbeat, I can see her coming across as un-funny if you’re expecting one liners and jokes about plastic surgery (that said, her earnestness can be really annoying).
I will say, that there’s a definite difference between being able to tell a funny story, or writing a funny script, and telling or writing a standard setup/punchline joke, even though a funny story is basically a long setup with a punchline at the end. I mean, I can tell funny stories but I’m awful at telling jokes.
Ava could be writing for some horrible sitcom…there are many on the air for years that aren’t very funny at all…and all the jokes are tropes or innuendo. Think Two and a Half Men and how long that was on…ugh.
I really like the generational back and forth between Deborah and Ava. That both parties realize the other has something to offer. And Ava realizing she had a lot of opportunities , talent or not, that if not for Deborah opening the door, wouldn’t exist.
Is it just me and my bf who didn’t realize Ava’s dad died?? She just said her father had a stroke and she was rushing back home. I feel like Deborah would have been instantly more understanding if she knew he was dead. Did he die before she got there because when she walked in the house and her mother revealed he was dead, we both were floored for her.
Also, for a couple of seconds, we thought that when Deborah showed up at the funeral it was a ‘dream’ sequence that Ava was having. How did she show up so quietly??In any case, we LOVED this season and are hungry for more!
A few days late to the party but I think I can explain it for you.
I think, when Ava walks in the house, she says “I’m sorry I missed him” or something similar. This leads me to believe that her dad was in the hospital after the stroke, and died before she could get to Boston (I think the establishing shot is of Boston after dark, the big Citgo sign is visible). Otherwise I think Ava would’ve said “My dad died”. (Remember, that by that time Deborah new about her trip to LA, and that her doctors appointments were fake).
As for Deborah showing up, she probably realized, after Ava quit, that she was telling the truth and tried to get any info so she could at least apologize (she can be super cruel but I don’t think she’s a monster). When you have money you can whistle up a private jet just about any time!
Yes, I do recall the ‘sorry I missed him’ line. For us it was jarring how low key she said that, because I am the crying type and would never be able to hold myself together saying that walking into the house with that new knowledge I just got from a call or text. HAHA!And, you are correct, rich folks can get access to transportation pretty readily. And, I agree, she most certainly isn’t a monster. I’m still amazed she got into that room without any recognition, but it works for the story either way.
So ready for season two!!
I thought he died as Ava was coming back home.
I absolutely loved this show and am so happy it’s getting a second season. Hopefully we’ll get coverage this time..? 🙂 🤞
Are we sure Marcus blabbed about Ava’s interview? I remember thinking that I was expecting him to, but in the end it was the agents. It would be interesting to have Marcus know the information but to keep it to himself, either to protect Deborah before her show or just out of refusal to play the game.
He planted it with her agent. Marcus tried to tattle on Ava but he and Deborah ended up in an argument instead. Afterwards, he called the agent, (falsely) telling him that Deborah had found out about the interview and was pissed.The agent of course didn’t know about the interview because his assistant had set it up. So then he had it out with the assistant, and then he called Deborah to apologize, which is how Deborah found out.
I liked this show, but not nearly as much as I expected to. Part of it I think was me, part of it I think was the show.The me part is that my tolerance for shows bereft of likeable characters is pretty low (I can’t stand Curb, don’t like Always Sunny, etc). This show realllly tested that, and it took a lot longer than I was expecting for any human feeling between Deborah and Ava.But Jean Smart and Hannah Einbinder were fantastic, and made the whole experience worthwhile for me.Where I thought the show dropped the ball was in the supporting characters. The one decently acted part was Marcus. The rest were just bad. I’m sorry, but Kaitlin Olson is just not believable. Every time she says anything it feels like it should be topped with wacky sitcom music. I did not care about the wacky hijinks of Marcus’s mom and grandma, was rolling my eyes at the kooky mayor (which may have been a very accurate portrayal — we all remember this, right? https://abcnews.go.com/US/las-vegas-mayor-slammed-suggesting-workers-covid-19/story?id=70306241 ) and was just about ready to turn the show off when we hit this endless, tedious subplot about the agent and his assistant going on a road trip. I actually liked the agent early in the season, but transporting his bug-eyed reaction shots from their natural habitat (in the office on his headset) to the real world populated by other humans — it was terrible. No seriously, is the actor who plays the assistant the producer’s daughter in real life too or something? Who was out there begging for 15 minutes of Kayla in the finale?